• Transactions of the Korean Society of Mechanical Engineers
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• v.12 no.5
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• pp.1150-1157
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• 1988

Two-dimensional turbulent plane jet which is under the pressure gradient in the transverse direction is studied numerically. Full Navier-Stokes equations are used to correctly account for the pressure variation in the transverse direction. Using the standard k-.epsilon. turbulence model as a closure relationship, a time marching procedure gives the velocity field. The temperature fields are obtained for two different cases : (1) Hot jet is issued into the cold still air, and (2) Hot jet is issued into the surrounding across which exists a temperature difference. The velocity and temperature fields along with other flow and heat-transfer characteristics for two different pressure gradients are presented. A simple formula that relates the jet trajectory to the pressure gradient is also proposed. The mass flux in the longitudinal direction and the jet halfwidth seem insensitive to the pressure gradient. However, the pressure gradient increases the heat flux in the longitudinal direction as well as in the transverse direction.

• Wind and Structures
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• v.28 no.1
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• pp.31-47
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• 2019

The accurate prediction of snow distributions under the wind action on roofs plays an important role in designing structures in civil engineering in regions with heavy snowfall. Affected by some factors such as building shapes, sizes and layouts, the snow drifting on roofs shows more three-dimensional characteristics. Thus, the research on three-dimensional snow distribution is needed. Firstly, four groups of stepped flat roofs are designed, of which the width-height ratio is 3, 4, 5 and 6. Silica sand with average radius of 0.1 mm is used to model the snow particles and then the wind tunnel test of snow drifting on stepped flat roofs is carried out. 3D scanning is used to obtain the snow distribution after the test is finished and the mean mass transport rate is calculated. Next, the wind velocity and duration is determined for numerical simulations based on similarity criteria. The adaptive-mesh method based on radial basis function (RBF) interpolation is used to simulate the dynamic change of snow phase boundary on lower roofs and then a time-marching analysis of steady snow drifting is conducted. The overall trend of numerical results are generally consistent with the wind tunnel tests and field measurements, which validate the accuracy of the numerical simulation. The combination between the wind tunnel test and CFD simulation for three-dimensional typical roofs can provide certain reference to the prediction of the distribution of snow loads on typical roofs.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.49 no.6
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• pp.449-456
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• 2021

In this paper, we present a strategy to extend solution capability of an existing low Mach number preconditioned compressible solver to incompressible flows with a little modification. To this end, the energy equation that is of the same form of the total energy equation of compressible flows is used. The energy equation is obtained by a linear combination of the thermal energy equation, the continuity equation and the mechanical energy equation. Subsequently, a modified artificial compressibility method in conjunction with a time marching technique is applied to these incompressible governing equations for steady flow solutions. It is found that the Roe average of the common governing equations is equally valid for both the compressible and incompressible flow conditions. The extension of an existing compressible solver to incompressible flows does not affect the original compressible flow analysis. Validity for incompressible flow analysis of the extended solver is examined for various inviscid, laminar and turbulent flows.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of Korean Society of Transportation
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• v.21 no.2
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• pp.71-82
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• 2003

The shortest path problems(SPP) are critical issues in the military logistics such as the simulation of the War-Game. However, the existing SPP has two major drawbacks, one is its accuracy of solution and the other is for only one solution with focused on just link cost in the military transportation planning models. In addition, very few previous studies have been examined for the multi-shortest path problems without considering link capacity reflecting the military characteristics. In order to overcome these drawbacks, it is necessary to apply the multi-shortest paths algorithm reflecting un-expected military incidents. This study examines the multi-shortest paths in the real networks using Shier algorithm. The network contains both military link capacity and time-based cost. Also, the modes are defined as a platoon(group) rather than unit which is used in most of previous studies in the military logistics. To verify the algorithm applied in this study. the comparative analysis was performed with various sizes and routes of network which compares with Dijkstra algorithm. The major findings of this study are as follows ; 1) Regarding the unique characteristics of the military transportation plan, Shier algorithm, which is applied to this study, is more realistic than Dijkstra algorithm. Also, the time based concept is more applicable than the distance based model in the military logistics. 2) Based on the results from the various simulations of this study the capacity-constraint sections appeared in each scenarios. As a consequence, the alternatives are necessary such as measures for vulnerable area, improvement of vehicle(mode), and reflection of separated-marching column in the military manuals. Finally. the limits and future research directions are discussed : 1) It is very hard to compare the results found in this study. which is used in the real network and the previous studies which is used in arbitrary network. 2) In order to reflect the real military situations such as heavy tanks and heavy equipment vehicles. the other constraints such as the safety load of bridges and/or the height of tunnels should be considered for the future studies.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.